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Lot 433
A 19th century chinoiserie watercolour, imitating a Chinese print, depicting a pair of butterflies above a peony, within a painted bamboo 'frame', inscribed verso 'Painted by the Misses Blencowe about 1840, Jane Allen - Henrietta, Elizabeth & Ellen Blencowe. Given by M. C. Sanders to Mabel Bates March 1929 - Imitating Chinese art', 15.75 x 11.5cm. (40 x 29.25cm.), in a simple ebonised frame.
Lot 434
Greek Cartridge Box Palaska, 19th century, made from pale yellow brass, the front with a relief scene showing Athanasios Diakos being seized by the Ottomans, the sides and hinged lid all with conventional foliage in relief. Good untouched condition. Athanasios Diakos was a hero of the Greek War of Independence. He was captured at the Alamana bridge near Thermopylae by the Turks in April 1821, impaled and subsequently roasted on a spit. An identical palaska is exhibited in the Athanasios Diakos museum. The scene on the front is taken directly from a well-known print of the event.
Lot 97
Two indistinctly pencil signed artist's proofs, Aix En Provence and Abergavenny, an architectural print of Berlin, a reproduction map of Northamptonshire, a print after Matisse, a 19th century coloured engraving of Boughton Church and other prints, including a cut down canvas portrait in the manner of Van Gogh
Lot 82
A BLACK & WHITE PRINT BY SAMUEL & NATHANIEL BUCK - 'The South View of Wrexham in the County of Denbigh', 31 x 81 cms and after SAMUEL & NATHANIEL BUCK, unframed, printed by the Gwynedd Archives Service, 1983 - 'The South East View of Clunokvaur Abby in the County of Caernarfon' (two copies), 20 x 38 cms
Lot 131
A Battersea enamel rectangular snuff box, c.1750-55, printed in sepia to the exterior with a scene of soldiers attacking the Trojan horse, the lid's interior with a portrait of a Chancellor of the Exchequer, the sides and base with panels of a diaper ground containing shell and floral motifs, 8.5cm. Cf. Bernard Watney, 'The Chancellor on a Battersea Enamel', ECC Transactions Vol 7, pt 1, for a discussion of the same portrait on a plaque in the Watney Collection. It seems likely, given the date, that the portrait is of Henry Pelham, since it is remarkably like a print by John Hinton of 1754. However, other examples have been identified as Sir Robert Walpole, and it has more recently been pointed out that the sitter's features are similar to a portrait of Henry Boyle.
Lot 136
A Birmingham enamel rectangular snuff box, c.1760-65, the cover painted with a Fκte Champκtre scene in the manner of Watteau, with five figures around a table in a garden setting, and a small dog seated upon a stool, the sides and base with sprays of honeysuckle, rose and other flowers on a white ground, the interior cover painted with Perseus rescuing Andromeda from Cetus, with gilt metal mounts, 8.5cm across. This particular version of Perseus and Andromeda is taken from a print after the painting by Franηois Lemoyne painted in 1723, currently in the Wallace Collection, London, accession number P417.
Lot 137
A large Birmingham or South Staffordshire enamel snuff box, c.1765-70, of shaped rectangular form, the cover painted with a lascivious drunk attempting to pour wine into the glass of his bare-breasted companion, reserved within a raised gilt and white enamel scrolled cartouche, the sides with panels of courting couples and figures fishing, the base after a Robert Hancock print, with two finches alighting on fruit which spills from an upturned basket, with chased gilt metal mounts, 9cm across.
Lot 56
Ohara Koson (1877-1945). Three ukiyo-e prints; including hare and moon, trimmed, 33 x 19cm, Northern Lapwing on the branch of a willow tree, trimmed, 33.5 x 19cm and two cranes at sunrise, trimmed, 24 x 25cm, together with three further woodblock prints by another hand, an Indian print and three Chinese paintings on silk, contained in an album
Lot 562
Jane Alexander (South African 1959 - ) Harbinger In Correctional Uniform, Lost Marsh digital print with pigment dyes on cotton paper image size: 30 by 40cm Pep subiros (ed), Jane Alexander Surveys (from the Cape of Good Hope), Museum of African Art, New York, and Actar, Barcelona, 2001, illustrated in colour on p 158
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